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In 1784 Joseph Haydn dedicated three piano sonatas to Princess Marie Esterházy in which the composer surprisingly turned to a two-movement form. This is also the case with the Sonata in G major Hob. XVI:40, which begins with a pastoral idyll in 6/8 time that is effectively complemented by a Presto full of clamorous gaiety. The editor of our Urtext edition, Georg Feder, is considered one of the most important Haydn researchers of his time. The fingerings by piano pedagogue Hans-Martin Theopold are a helpful aid for all those who work on this sonata.
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Three violin concertos by Joseph Haydn survive, of which the ones in C major and A major were written at the court of Prince Esterhazy. The violin concerto in G major Hob. Vll:4 was probably composed in the early 1760s, before his appointment by the prince. It thus comes as no surprise that it is very different from the other two concertos; the solo violin part hardly goes beyond the third position, and the focus is more on lyricism than virtuosity.For (younger) violin learners the work thus offers a good opportunity to engage with Haydn the composer for the first time. Our Urtext edition is based on the Haydn Complete Edition, also published by G. Henle Verlag. The extensive preface includes a discussion of authenticity, among other things. The edition is rounded off by sophisticated string bowing and fingerings by Kurt Guntner, along with cadenzas created by Franz Beyer.
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Joseph Haydn’s so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. The Symphony no. 83 is the only Paris Symphony in a minor key. Its nickname “La Poule” (“The hen”) was not coined by Haydn. But it’s almost impossible not to be reminded of the bird when listening to the oboe’s “cluckings” in the second theme of the first movement. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
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It is not known exactly how many violin sonatas Joseph Haydn composed, since the authorship of several works attributed to him is uncertain. There is even some evidence that the present G major Sonata Hob. XV:32 may be Haydn’s only original work in this genre. The striking correspondence of its opening with the theme of the second movement from Wolfgang Amadeus Mozart’s Sonata in G major K. 301, which is likewise a two-movement violin sonata, could be regarded as a conscious quotation.
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In contrast to Mozart, Haydn was not a keyboard virtuoso. He certainly conducted his orchestral works from the harpsichord, and also performed his own piano sonatas, but any ambition to be a concertizing pianist was foreign to his nature. Thus “only” three piano concertos by Haydn have come down to us. The Concerto for piano and string orchestra Hob. XVIII:4 is full of spirit and the joy of playing. We know neither the occasion for which it was written, nor the year of its composition; the extensive preface to our edition of the playing score, with one string part each, discusses this in detail. As in the sources of the time, the solo part here also includes the bass line (with figures) for tutti sections. Axel Ruoff makes suggestions for the solo cadenzas required in movements 1 and 2; Haydn composed the cadenza for the concluding Rondo movement. This Urtext edition is based on the musical text of the Haydn Complete Edition, which is likewise published by G. Henle Publishers. The trade press applauds it: “In view of the scarcity of easier piano concertos, one can be thankful for this new edition, especially since it can be presented with a very small orchestra, perhaps even with a string quartet.”
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Joseph Haydn’s nearly forty piano trios are available in five volumes from G. Henle. These are based on the Haydn Complete Edition, likewise published by Henle. This fourth volume contains the nine Piano Trios Hob. XV:18–26; which Haydn probably composed during his second sojourn in England (1794/95). Prefixed to this Urtext edition is a detailed preface by the editor that provides information about the trios’ genesis, dedicatees and notational idiosyncrasies. The piano largely dominates in these “sonatas for the pianoforte with accompaniment of violin and violoncello”; as they were titled in the first edition. In fact, for long stretches the violin doubles the right hand of the piano at the unison (with the violoncello doing the same for the piano left-hand part). The two string instruments nonetheless contribute significantly to the impact of this music, and the violin is occasionally entrusted with the melodic line on its own.
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Joseph Haydn composed twenty-one string trios for two violins and violoncello, of which three have been lost. These chamber music gems, which do not turn up very often on concert programs, are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition, also published by G. Henle, Haydn’s eighteen surviving string trios are presented in two practical volumes. The first contains Trios Hob. V:1–8 and 10–13. The preface to this Urtext edition offers valuable information about the genesis of the trios. Moreover, it contains numerous hints on performance practice, concerning for example the execution of embellishments.
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Joseph Haydn composed twenty-one string trios for two violins and violoncello, of which three have been lost. These chamber music gems, which do not turn up very often on concert programs, are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition, also published by G. Henle, Haydn’s eighteen surviving string trios are presented in two practical volumes. The second contains Trios Hob. V:15–21. The Critical Report provides valuable information about the trios’ genesis and sources.
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Joseph Haydn’s nearly forty piano trios are available in five volumes from G. Henle. These are based on the Haydn Complete Edition, likewise published by Henle. The fifth volume contains the six Piano Trios Hob. XV:27–32; which Haydn probably composed during his second sojourn in England (1794/95). He dedicated the first three to the then prominent pianist “Mrs Bartolozzi”; who was born in Aachen ca. 1770 as Therese Jansen and had received piano instruction from Muzio Clementi. All six trios present a pianistic challenge and at the same time are sophisticated chamber music works. The G major Trio Hob.XV:32, however, is probably a violin sonata “in disguise”; to which the violoncello part was subsequently added “by a foreign hand”. Prefixed to this Urtext edition is a detailed preface by the editor that provides information about the works’ genesis, sources and notational particularities.
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Two of Joseph Haydn’s three concertos for horn and orchestra have been lost, while two further horn concertos have often been mistakenly ascribed to him. Haydn’s sole surviving horn concerto, whose authenticity is not in doubt is this one in D major, Hob. Vlld:3. Our Urtext edition is based on the Haydn Complete Edition, and offers two solo parts: that in D follows Haydn’s autograph, while we also supply a part for the modern horn in F. Solo cadenzas are provided for all three movements. The cadenzas printed in the enclosed horn parts are by horn player Johannes Ritzkowsky; as far as possible they exploit the limited possibilities offered by the natural horn of Haydn’s own time. They should not cause today’s horn players any great problems, and will be a welcome bonus.
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Which of his pupils did Haydn have in mind when he composed his humorous “Divertimento à due per il Clavicembalo solo”? It was written at a time when works for piano four-hands were still the exception – and instead of “Primo” and “Secondo”; the oldest copies use the terms “La parte del Maestro” and “dello Scolare”. Haydn’s wit keeps surfacing; for instance, in the idea that the teacher plays first, then the pupil, and in the last bars of the variation movement the hands of the players cross over without their being any musical necessity for this. Haydn’s sole work for piano four hands is now published in a revised edition based on the volume that has appeared in the Haydn Complete Edition (HN 5501 and 5502). It is an excellent work for educational purposes but will also provide good sightreaders with a great deal of pleasure.
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Haydn’s last piano work is also considered to be his most famous single work for this instrument. The minor theme is filled with emotional depth: “a melancholy andante in f minor, with variations, as only a genius can do them, that almost sounds like a free fantasia” (thus described in a review of the time). The form is also demanding: not merely one theme but two – one in a major key, the other in a minor one – are varied in turn. The autograph gives one to believe that the work was originally intended to be the first movement of a sonata. This single edition has been taken from the recently revised volume of “Piano pieces” (HN 224) and furnished with a detailed commentary.
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Six works belong to opus 9 – the first group of Haydn’s string quartets of which we know. The composer also went new ways as far as form was concerned: whereas he had still adhered to the five movement divertimento in the previous quartets opus 1 and 2, in this case he favoured four movements, something he continued in the future. Apart from this, he also expanded the register and experimented with metric surprises (for instance in the trio of the minuet from the G major quartet).
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Haydn allowed about ten years to pass before composing a new cycle of string quartets after opus 20: the so-called “Russian Quartets”. This is the first series of quartets that we know he wrote with publication in mind. “They are in a completely new and special manner”; he wrote in several letters, and he was certainly not just referring to the fact that “Scherzi” replaced the minuets for the first time. Music lovers particularly appreciate the melodic ideas; thus the rich ornamentation of the main motif of op. 33,3, gave the quartet its nickname “Bird Quartet”.
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This volume completes Henle's urtext series of Joseph Haydn's three piano concertos. Written in or around 1765, the delightful first concerto is ideally suited for playing at home, for the relatively undemanding part for piano (or harpsichord) is accompanied merely by a string quartet. This edition draws on the musical text in our complete edition of Haydn's works, guaranteeing an urtext of the finest quality.
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Haydn only made piano arrangements of his own works in very special cases. The popularity of his hymn “Gott erhalte Franz den Kaiser” (God Save Emperor Francis) did not simply occasion him to write the famous movement for the “Emperor Quartet” op. 76,3. He also later made an arrangement of these variations for piano. He might have done so following the wishes of the publisher Artaria. We now present a new edition of Haydn’s arrangement on the basis of the recently revised volume of “Piano pieces”. Furthermore, the edition opens with a facsimile of the emperor’s hymn.
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Joseph Haydn’s so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. The C-major symphony was composed in 1786. Its nickname “L’Ours” (“The bear”) derives from the bagpipe-like “drone” accompaniment in the final movement, which presumably made Haydn’s contemporaries think of a dancing bear. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
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In the Classical period, and well into the 19th century, piano trios were almost “fashion accessories”; At the end of his life, Haydn could look back proudly at the 39 piano trios which he now left to posterity. One interesting feature of the collection Hob. XV:15-17 is that, thanks to their scoring for flute instead of violin, they differ from Haydn’s other trios. They were commissioned by the London publisher John Bland, who had paid a visit to Haydn in 1789. Haydn immediately put pen to paper and created three extraordinarily charming pieces full of imaginative touches and elegance, which were published in summer 1790. The use of the flute is undoubtedly due to the instrument’s unique popularity in the circles of the English middle classes and aristocracy; nevertheless, a performance with violin is also perfectly feasible and even explicitly suggested in the F-major Trio Hob. XV:17.
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These are the last of the nearly seventy quartets in Haydn’s oeuvre. Originally he intended to write a set of six quartets, as so often in the past, but at the time they were written, in 1803, Haydn’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103, adding to the print the portentous words: “Gone is all my strength, old and weak am I.” Musically, however, these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far as to call op. 77, no. 2, his “most beautiful string quartet.”
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The quartets were dedicated to the violinist Johann Tost, who was the second principal violinist at the Esterházy court during the 1780s. His business sense led him to sell twelve quartets - opus 64 was probably amongst them - to a Parisian publisher. Whether Haydn approved of this is open to question - the dedication was, however, no longer present in the second imprint or the following ones. Our edition follows the Haydn Complete Edition and for the first time juxtaposes the quartet in E flat major and the two original trios.
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